Entombed Terra Cobalt

Old French en-tombe, into-the-tomb — past-participle of entomb. As a color modifier, entombed implies the deep, sealed, untouched-by-light darkness of a sepulchre interior of medieval-and-Renaissance European cathedral architecture. Sits at the deep-and-funereal end of the grid, parallel to sepulchral and crypted in usage.

Latin terra, earth-or-land. As a color modifier, terra implies a earth-globe-and-loamy-and-grounded quality, the visual register of Pale-Blue-Dot-and-Apollo-Terra hand-earth-globe-and-loamy-and-grounded Pale-Blue-Dot-and-Apollo-and-Earthrise terra-and-earth-globe-and-loamy-and-grounded surfaces under Pale-Blue-Dot-and-Apollo-and-Earthrise lunar-orbit-and-deep-space earth-globe-light. Sits at the modifier-and-cosmic end of the grid, parallel to luna and sol in usage.

Element Co, atomic number 27 — German Kobold, goblin, named by miners who found the metal interfered with smelting silver ore. Cobalt blue is the cobalt-aluminate pigment introduced by Louis Jacques Thénard in 1802: a saturated, slightly green-shifted deep blue with the matte finish of mineral pigment in oil. Cooler than ultramarine, warmer than prussian, with the painter's weight of a pigment used by Renoir, Van Gogh, and Cézanne.